Like any artwork, things become richer if you know more about them; but I don't think that's crucial.
There is the artwork that you physically make but there's also the journey that happens on the inside.
I think that artworks are like these spiritual objects: I think that they have energies and powers beyond what the eye can see.
I think the overall mood of the music informs the artwork, but I've found that good lyrics can be inspirational, too.
When I was at Disney and was a character art manager and handing out artwork that had to be inked we had a thing where if there was any lettering on it I'd hear, "I don't letter," and I said, "Look at it. It's drawing. Ink the drawing." I just learned from Mike Aarons how each letter was just part of the drawing.
I hate the word "eclectic" .I'm a classicist, and I like comfort. Lots of books, lots of artwork, pieces of family furniture, and newer upholstery.
I found being able to change things on the fly and react to the changes in the artwork makes it stronger. And I feel like I'm not doing the job twice.
I've never felt really creative or intuitive using software. I like paper and pens and paint. I need to angle real lights on my artwork and work with my hands and build props. Computers just take all that fun out of it [animation drawing].
I think the artwork is very important because it gives people a visualization of my music. I wanted to create a whole visual aspect, so that the people listening to me can get a better understanding of my universe and integrate it fully into their own worlds.
People who have ordered my pieces to be removed should have asked themselves before if they were artworks or vandalism.
I have an exclusive gallery that takes care of the all of my artworks. I want to stay focused on the art and of creating and let my gallery take care of the more commercial aspects.
I like that there's very little mystery in how the artwork is actually made. It's the labor and the focus and the precision that drives it to the next level.
For me, each book is kind of like a silent film. If you were to remove the words and just look at the pictures, you should be able to tell what the story is about without having to read a word of text. That's what I think I brought from doing artwork for film to doing artwork for books.
If I'm in the business of making artwork that is designed on some level to sell a product, then I have to be very comfortable with the people I'm working with and I'd like to be proud of the end result regardless of its sale-ability.
If what you want to do is make artwork for bands, you have to love doing it because there is almost no money in it. In order to start doing it, you just have to put yourself out there, work for bands you love and for as little as possible to start, if not free, that's what I did for years.
Often people try and just consider music as music, in a musical context. People seem to forget that music is not just audio material - it's also the artwork, the packaging it comes in.
It's a tough thing to know that when you're making your album, you're going to end up collaborating with, say, Wal-Mart, on your artwork. That just sucks. And the pressure behind getting the numbers real fast is, to me, dizzying.
I went to the archives to see what Dumbo work there was, not for current film, but just for my love of animation. And I couldn't believe all the artwork the guys had done to find this universal empathy to Dumbo. There was one drawing where they used his ears as a sign: "Eat at Joes!" These guys were continually searching and digging to see what that is.
The boundaries between contemporary art and cinema are so rigid. It's unbelievable. The film critics don't know my artwork and the art world doesn't know my films.
It's the ultimate conceptual artwork. I took a piece of metal and just painted an image of a stop sign on it - a four-by-four-foot stop sign.
I would never make an artwork that I wouldn't want to make forever. Wouldn't you want to make Trash Humpers [Korine's 2009 film] forever?
The success of a meeting often depends on having the right documents - proofs, artwork, schedules, research charts, etc. - present at the start of the meeting. All too often we arrive like plumbers, leaving our tools behind.
Every artist - even if they do Superman, they do Batman, and things like that - they are speaking about his life. Every person, every artist makes his life an artwork.
I've had people say to me, "Well, how do I start collecting artworks?" Well, you start by buying. Buy what you like, buy what you can afford - and I'm not just saying that because I'm a dealer. You can't be so paralyzed to where you keep saying, "I've got to learn more." The best way to learn is to go home and actually put something on the wall. Then you've got an investment. Then you're living with it. Then you're in the game.
I'm always in awe of directors because they're just holding so much stuff in the air. They've got so many decisions that they need to be making and they have to have the complete overall look of what the piece of artwork is.
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